Asbjoern Andersen


Ever wonder what it takes for a successful collaboration between a videogame studio and an audio production studio? Based on 20+ years of experience from both sides of this process, BAFTA and Develop award-winning audio director Adele Cutting from Soundcuts Ltd shares her essential insights on how to achieve quality results as an audio outsourcer for games:
Written by Adele Cutting
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When I started Soundcuts Ltd 6 years ago, I don’t think I was quite aware what an exciting ride I was just about to go on, and just how much I was going to learn, or the wide range of projects we were going to be developing sound on – from Mobile, Console, PC, VR games, to interactive websites, Interactive Live events and installations to linear animation series, commercials and viral trailers.

I had previously worked at Electronic Arts for 15 years. Starting as a contractor in late 1996 and working my way up the ranks to become a Senior Audio Director in 2007, I’d had a lot of experience not only ‘doing’ the work – Sound Design, Music, Speech Production – but also extensive knowledge of the tools base, audio middleware and management skills like budgeting, scheduling, and mentoring.

I loved working at EA, but I also had a dream to run a games audio outsourcing company. A sound team that could work as an external audio department for games companies without audio resources in-house.

I was not prepared for the huge learning curve going into outsourcing was going to be

A lot of the skills I learnt at EA I was able to bring with me when I started Soundcuts. However, I was not prepared for the huge learning curve going into outsourcing was going to be.

There are a few obvious things that are completely different working for smaller games studios.

a) Time – A lot less.
b) Budget – A lot less.
c) Tech – A mixed bag.
d) Knowledge – Audio knowledge on teams varies greatly.
 

Life in the freelance world

Time moves fast in the freelance world, and gone are the luxuries of paid research time. Everything is on the clock. Budgets are tight and you’ve got to work within them.

In a large company, you’re given time to learn new tech. Time to understand and experiment with a new platform – as a freelancer this is on you. For example, in a large company working on a VR title, you may never have worked on a VR title before, but you start and learn as you go, and eventually become an expert. To be hired on a VR title with an Indie studio, you won’t be hired unless you know VR. So it’s up to you to go out and read everything you can find on the subject and play as many things possible with an analytic ear to understand what’s going on.

Being freelance, every single game is completely different

Technology – Although I was used to the technology and toolset always changing, improving and being updated at EA, this was a gradual curve. Being freelance, every single game is completely different. It obviously helps in some cases having some familiarity with the engines such as Unity and Unreal, and the great audio middleware – such as – Wwise, FMOD, and Fabric. However, with budgets being tight, you’re very lucky if the game you’re working on does have audio middleware. It’s always something I suggest using as it makes for a lot of time saving and a far easier mix at the end, plus it provides some really seamless ways of editing music etc. (I love implementing interactive music in Wwise). But… the first question back from the client is often ‘How much will it cost’, and that is where it often stops with smaller teams.
 

 

Team Culture – This is another aspect of the work I find really interesting. I’m a team player, it’s one of the reasons I wanted to start an external team and not be a loan freelancer. I’m always keen to find out what the team culture is like, as no two studios are the same.

As an outsourcer, communication is probably one of the biggest skills you have to use and being able to become part of the team is important

The way the team interacts with each other, the structure of the team, the type of language they use, how they schedule the game are all different. As an outsourcer, communication is probably one of the biggest skills you have to use, and being able to become part of the team is important. You need to understand their goals and what they’re trying to achieve. So I do think it helps if you can ‘read’ people. Audio knowledge on a game team varies hugely from team to team. You may find a team who claims to understand and value audio in reality doesn’t. Conversely, you may find a team who claim to not know anything about audio, yet completely get on board with all your ideas and it becomes the best-sounding game you work on. As part of your communication with a team, you need to change the style in which you deliver your ideas to the client, depending on their knowledge. Some teams might understand your ideas for the sound just by talking with them; with others it’s important to show them what you mean, or mock up examples of how it’s going to sound depending on different ways the sound is integrated.

Knowledge – I’ve worked in games audio for over 20 years. So, I know my stuff. However, no-one can know everything. Another reason I love working as part of an audio team, is the shared learning from your peers. Everyone has an area of expertise.

I’ve found it very important to do a lot of research and reading to keep up-to-date with tech, but also attending conferences to try and keep up to date with everything that’s going on. I’ve also had to really expand the tools I use in my sound design work. I’ve very much been a ‘Protools’ girl for the majority of my career. However I now find myself using multiple DAWS depending on the company I work for, and the type of work I’m doing. Some clients specify the delivery format, or deliver Soundcuts systems that can only be used with specific ones – so since leaving EA I’ve found myself using Protools, Nuendo, Cubase, Vegas, Abelton and Reaper.
 

Video Thumbnail

Footage from Shadow of the Beast, a title which Soundcuts provided audio for

Starting A Project


As I’ve mentioned above time is of the essence. You don’t have months to experiment with ideas, it’s important you get to the focus point of the style of sound in the game quickly.

It’s important you get to the focus point of the style of sound in the game quickly

So the key thing for me to develop, when I’m new on a project, is a style guide. This is something that was a requirement in-house. It was an important part of pre-production on any game to create an Audio Direction Doc. It’s incredibly valuable.

Now, this has not been a requirement or deliverable on any game that I’ve worked on since, but I still do it as it’s useful to me during the development cycle of a game.

As I come from a film background, the way I work is to create the soundtrack I want and then work out how this can be implemented – obviously keeping in mind any of the game tech limitations whilst doing this. The style guides I make can come in many forms, but the key output is an understanding of the soundtrack we’re creating for the game.

It also becomes a valuable reference point for the game cycle, something to come back to.

It can be a game capture which I’ve tracklayed, or even a soundscape to go with some concept art. Doing a small section of work allows you to try a variety of ideas quickly and settle on a style that works. Rapid iteration is key. The visual style of the game is really important to me.

At the end of this process you should know what the soundtrack should and shouldn’t be. The sort of sounds that you’re wanting, the emotion you’re trying to create and the gameplay you’re trying to support. (I know there have been several articles on this, so if you need more information, read them :)

Sound in games in not just about creating a beautiful sound track, it also has to support the game mechanics

It’s also very important to understand the game design. Sound in games in not just about creating a beautiful soundtrack that supports the story and emotion in the game, it also has to support the game mechanics, and it is also a game mechanic in itself helping inform the player what is happening and what is about to happen in the game. It can make the game feel real — this is heightened in a VR experience.

During these early days (which are very few days generally due to time constraints), I like to get together a ‘bible’ of sounds, so I’ll create a library specifically for that game. I’ll go out and record a lot of things that I think will be relevant: Ambiences, spot effects, intricate Foley sounds. I personally only have a few simple recording devices. A Zoom H4N, which I love as it’s super small and I can take with me everywhere when you’re out an about and suddenly hear that sound that you’ve just got to get. I also have a larger recorder, an Edirol R-44, a shotgun mic and Rycote windshield and boom, and if we need more we hire it. My kids enjoy coming out recording with me too, my son’s always listening out for interesting sounds now.
 


Popular on A Sound Effect right now - article continues below:

 

Latest releases:  
  • Horror Giant Pinecones Play Track 500+ sounds included, 44 mins total $79

    • In Giant Pinecones, get a visceral collection of scraped and eviscerated pinecones from the gray pine trees of Northern California. Scrape the razor-sharp hooks of the cone petals and hear guttural scrapes crackling with energy. Hear rolling cones popping and fluttering with rich stuttering tones. Hear fully open cone pedals squeaking with woody vocalizations like supernatural animals and hardy crunches filled with organic grit.
    • This library offers you an extensive collection of sounds from a unique organic sound source. Digger pinecone sounds are incredibly soft and intimate in real life, but when recorded from two inches they morph into a unique wooden sound source brimming with powerful glitchy and stuttering textures.

    2% FOR THE ENVIRONMENT & CARBON NEUTRAL:
    • Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!
    • Carbon offset credits were purchased to offset my field recording travel for this library.

    KEY FEATURES:
    • Woody vocalizations
    • Rolling, scraping, and stuttering textures
    • Visceral and guttural scrapes
    • Fluttering and popping textures
    • Rich crunches
    • Chalkboard-like squeaks and squeals
    FILE LIST & METADATA:
    • View larger version or Download CSV
    • A spectrogram is included for each audio file. Double click on the photo to enlarge.
    MORE INFO:
    • Read 40+ testimonials for Thomas Rex Beverly Audio
    • Read my Field Recording Mastering Rules and learn more about how these recordings were mastered.
    • Browse the Library Info Master List to compare specs on all my libraries.
    • Browse the Metadata Master List to search my entire catalog.
    • MD5 and SHA 256 Checksums are included for each zip file in my catalog. Use these hashes to check the integrity of your downloaded files.
    GEAR USED:
    • Sennheiser MKH8040 and MKH30 in MS
    • Sound Devices MixPre-6
    Add to cart
  • Recording of the American 2017 Polaris Ranger EV. Powered by an electric utility vehicle’s 48-volt high-efficiency AC-induction motor.


    The American 2017 Polaris Industries Ranger EV sound collection shares 44 sounds in 3.49 gigabytes of audio. It showcases the sound of an electric utility vehicle’s 48-volt high-efficiency AC-induction motor in 4 channels with 2 custom stereo mixes.

    The sound pack includes 4 synchronized takes of onboard driving. 4 channels of audio capture the engine and onboard perspectives, with 2 custom stereo mixes provided. Performances include driving slow and fast, with steady RPMs and ramps, starting, stopping, and more.

    The package includes Pro Tools and Reaper mixing sessions, full professional metadata, and metadata import files in 7 languages.

    Add to cart
  • A crush on music

    Distortion and saturation play a very important role in music production. From subtle, clean and warm tube or tape saturation to the wildest multiband guitar amp effects: FabFilter Saturn 2 delivers.

    Saturn 2 introduces a host of new features such as a redesigned interface with modulation visualization, new subtle saturation and linear phase processing for mastering, many new distortion styles, and more.


    Warmth, harmonics, color and dynamics

    FabFilter Saturn 2 offers a range of different high quality distortion models, inspired by the vintage sound of tubes, tape, transformers and guitar amps. In addition, you get five creative FX distortion styles to mangle your sounds in weird and unexpected ways.

    With its multiband design and per-band feedback, dynamics, drive, tone and modulation options, Saturn 2 will bring a unique flavor to your music.

    Bring your sounds to life

    Add life and depth to your music using the extensive modulation section. By applying subtle modulation to crossover frequencies, dynamics, band levels or tone controls, great warmth and definition can be achieved.

    With all the XLFOs, EGs, XY controllers/sliders, envelope followers and MIDI sources you will ever need, you get practically unlimited modulation possibilities. Creating new modulation connections could not be easier: just drag and drop. And Saturn 2 visualizes all modulation in real-time to show exactly what’s going on.

    FabFilter goodies

    Finally, FabFilter Saturn 2 contains all the usual FabFilter goodies: perfectly tuned knobs, MIDI Learn, Smart Parameter Interpolation for smooth parameter transitions, interface resizing and full screen mode, support for Avid control surfaces, GPU-powered graphics acceleration, extensive help with interactive help hints, SSE optimization, and much more.

    Add to cart
  • Cricket – Junior & Senior is our latest SFX library toolkit, created to cater to cricket specific sounds. We have covered a broad range of specific sounds that differentiate Cricket from other batting sports. Included are sounds for Cricket Gear, Movements, Batting, Bowling, Fielding and Other Miscellaneous sounds.

    17 %
    OFF
    Ends 1590530399
    Add to cart
  • An ice hockey game is an exciting, dynamic and powerful sonic experience. From the thunderous crack of a puck hitting the boards at full speed to the gentle scrape of a stick on the ice, this library contains a complete range of the game’s on ice sounds, all captured with natural reverb in an indoor arena.

    Included are a range of performances of skate, stick, puck, and whistle sounds, as well as rink door opens and closes, and various board, glass, and ice impacts.

    The skate sounds include starts, stops, turns, and pass bys, as well as single steps and scrapes for detailed editing and layering. Stick sounds include different kinds of shots, passes, drops and scrapes, and impacts with other sticks, the boards, and the ice. Puck sounds include impacts with the ice, boards, skates, the goal metal and net, and even goalie pads. Rink sounds include the opening and closing of doors, impacts with the boards and glass, and a goal horn. Two different types of whistles were recorded, with varying durations.

    Each sound effect performance was recorded from multiple perspectives – a stereo ORTF pair of Lewitt LCT 540s microphones, a closer wide XY from an Audio Technica BP4025, and a close mono Schoeps CMC6/MK41 – either stationary or following the action on a boom, depending on the type of sound. The ratio of direct to reverberant sound differs between these perspectives, offering a variety of options when editing to picture.

    Also included are quad-channel room tones from two different ice rinks, and a special onboard recording of a puck, made by taping a Sony PCM-M10 to a puck and sliding it across the surface of the ice.

    The actions were performed at a range of speeds and energy levels, with multiple takes for variety. Please refer to the sound list pdf below for details. Captured at a sampling rate of 96kHz, these recordings contain detailed information above 20kHz, expanding the possibilities for manipulation when slowing and pitching them down.

    30 %
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Need specific sound effects? Try a search below:
 

I also generate a huge bank of effects e.g. drones, or if on a project with ‘magic’, a ton of different magical elements. I’ve recently got into Ableton and Komplete as Dave Newby who works at Soundcuts is very into this, and it’s fantastic just to mess around and play with sounds in here.
 

Time to experiment


This is also a time to experiment with sound processes you’d like to use. On a recent indie game we had to create the voices of mechanical machines. Each machine was a giant mechanical animal. They didn’t talk in English, although subtitles were going to be on the screen so you understood what was being said. Dom Smart was one of the sound designers working on this project and I asked him to spend a couple of days trying various processes and creating Max MSP patches that we could use for these.

 

Another thing I love to do is search for beautiful recordings. I love collecting sound effects. It’s probably one of my favourite things, I can’t stop myself. I’m an addict. I like researching indie libraries — buying a whole library just on pig sound effects for instance.

In an ideal world, I’d love to record all my own sound (wouldn’t we all!), but time is tight and this is an impossibility. Sometimes we have less than a week to turn around sound for a game. If the game has a polar bear in it, you’re hardly likely to have time to fly off and find a polar bear and record it.. so you’ve got to know/find people who have already done this. One of the reasons I love indie libraries is that they’re fresh and not overused like some of the larger libraries.

At the end of this *very* short period, I should have a big chunk of audio that I can go to, designed with the ‘style’ guide in mind.

At the start of the project we’re creating a vast amount of useful sound that we can dip into during the project

During this small time at the start of the project we’re creating a vast amount of useful sound that we can dip into during the project. They’ll still be a whole load of new sound to design, to create during the project, but this is a great starting point and useful for keeping a ‘style’ for the game. It makes it quicker further down the line to have this resource to pull from. It’s also incredibly useful if we ramp up the amount of sound designers on the project, as there’s a lot of reference material readily available for them to use, and give a clear direction. We often have games that span multiple months, but we’re only (due to budget) asked to work a handful of days each month. Having this resource means that it’s a lot easier to get back into the style of the project and pick up where you left off.

Creating a soundscape to concept work, or even a white-box first pass gameplay, is great to share with the dev team/producer. It also allows really early feedback on the sound before you’ve spent months of work on something they don’t like. You want them to love the final delivery, so it’s good way to get feedback before then.
 

Finding references

Playlists allow a conversation to start on what the music for the game should sound like

I find Spotify playlists really useful when working with devs and composers on the music. It’s a really quick way to get a bunch of ideas together in one place. It allows a conversation to start on what the music for the game should sound like. Using temp tracks in-game can help lock down ideas on tempo, instrumentation and style really quickly. HOWEVER, this comes with a big warning. Don’t stick with one track… The idea is to show multiple tracks — one can be for instrumentation, another for emotion. If a producer gets attached to one track, this can become a problem for the composer, as the producer then wants a ‘sound-a-like’ of the track. So Spotify playlists should only be used as a springboard for ideas to discuss. If a composer is able to demo some of their own ideas as part of this process, that’s great.

We have brilliant in-house composers here at Soundcuts, but we also pull in other composers to work with us on projects too. A composer I’ve worked closely with on multiple projects is Ian Livingstone. I adore working with Ian because his music is always top-drawer and he is an absolute pleasure to work with, very quick and open to feedback and ideas. Shadow of the Beast was a new version of the 1989 Amiga classic. It was renowned for its music, so obviously that was one of the first things we looked at. We wanted to bring the soundtrack up to date, to match the visual style but still keep, and develop, the musical themes and motifs from the original music.

I did share a playlist with Ian with some other music as reference for the instrumentation and feel. We wanted an ‘otherworldly’ feel. Following on from this, Ian would send over small work-in-progress ideas for feedback, one of which became the ‘key’ to the entire music score moving forward. He’s a very generous composer too, sending me stems of all the music, which allowed me to remix to the stems and edit them to fit the cutscenes, which meant the music integration was a joy and gave me lots of different possibilities. I really wanted to blur the lines between what was music and what was ambience, so he created some beautiful drones in the tracks. There were a lot of really interesting ethnic musical instruments, so it was great to be able to take a few of these and manipulate them to become ambient spot effects.

We did a similar thing on Oure too, where gamelan instruments were the link between the music and the environmental ambience and spots.
 

Video Thumbnail
Oure Trailer


 

We also work on projects where the audio has already been started. When we worked on Sunless Skies (Failbetter Games), we were hired to finish the sound design. This had already been started by the project’s Game Director Liam Welton, who was a sound designer for many years and had been designing sound on the game, but was running out of bandwidth with all his other responsibilities, so in this case a style had already been created. He was able to send us examples of the work to date, so we were able to replicate this style in our sound work. It’s always very nerve-wracking when working for someone who has been looking after the audio and has now entrusted it to you. I was very aware of this on Sunless Skies — it’s their baby, they don’t want to give it away, and if time wasn’t an issue, they’d be doing it. So you’ve got to be really careful to make sure they’re happy. We shared ideas on a regular basis, and then I’d contact Liam on Slack for feedback before delivering the final files. I think my proudest moment was when he emailed to say we’d turned him from ‘an audio outsourcing skeptic into a believer’. In fact not only that, but we won the Develop Creative Outsourcer – Audio award for our work on Sunless Skies!

On larger indie titles it’s good to have a proper Foley session at a Foley studio

On larger indie titles it’s good to have a proper Foley session at a Foley studio. We did this for The Room Three, where we spent time at Shepperton gathering together as much new material as we could. This is something that we do further down the line, when the game requirements are a lot clearer. We only have a small window for this so it’s good to prioritise the objects we feel will most benefit from this.

We also held Foley sessions for the audio-only game Audio Defence – Zombie Arena and Shadow of the Beast. This is a luxury, and cannot always be found in the budget.

 

Communication is key


Communication is important. I learnt this at EA when I was the in-house Audio Director hiring and working with outsourcers.

NOTHING is more frustrating when you’ve hired an outsourcer than…

1. Not hearing from them despite sending emails, leaving messages.
2. The deadline is approaching, but you still haven’t had a response from the email asking for the deliverables.
3. The outsourcer tells you on the day of the deliverable that they cannot hit the deadline.
4. When an outsourcer gets grumpy about what you’ve asked them to do.
5. They don’t come to a meeting that has been arranged.
6. They’re rude to other members of the team.

They ALL happened to me when I was in-house.

So when starting my own company I was aware of these issues and determined NOT to do them.

Clients like to work with us multiple ways, and we try and accommodate everything

Clients like to work with us multiple ways, and we try and accommodate everything. From the very basic: An asset list and some game capture, right through to high-end, middleware, access to the game build and working 1:1 with an on-team programmer.

I much prefer to have access to audio middleware and then sit with a programmer fine tuning to make sure it’s working as designed and hear it in game as you’re playing it. The results are far superior.

On Shadow of the Beast, the programmer moved into my studio initially for a few days, where we fine-tuned and mixed the game, which made such a massive improvement. The programmer was reticent at first, obviously this was taking time away from other bugs and problems he had to deal with, but he really enjoyed it and could hear the improvement in the audio. So much so, in fact, that he extended his time in the studio a further 2 days, as he appreciated how much this process was improving the game. We were on a massive high when it was finished. The mixing and tuning process of a game is often the most overlooked but is SO important.
 

My final point is on value

Getting positive feedback and being asked for your opinion only strengthens the relationship

I’ve just finished voice direction on another fantastic game. Not only was it a great script, but I felt really valued and that my opinion counted. So maybe my parting words as working as an outsourcer should actually be for the clients: Getting positive feedback and being asked for your opinion only strengthens the relationship. As an outsourcer you should always put 100% into every job, but once you feel valued you’ll push yourself further to do your absolute best, which is only ever a good thing for their game!
 

A big thanks to Adele Cutting for her insights and advice on the outsourcing adventure!


 

 

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A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:
 
 
  • Sci-Fi Advanced Propulsion Play Track 1191 sounds included $99

    ADVANCED PROPULSION is a next-gen sound design toolkit built for creating dynamic sci-fi vehicle engines and passbys. The designed engine sounds are all seamless loops, making them perfect for use with various plug-ins and interactive applications. All raw source material used to design the engines is included, giving you maximum creative flexibility.

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  • Rocky Impacts is a collection of 262 rock & stone impact sound effects.
    Rock impacts, LFEs, Debris, Moving textures and more

    Collection consist of 150 designed sound effects and 112 source sound effects. All sound effects were recorded with Sennheiser MKH8060
    + ATE 208 in mid-side at superb 192KHZ. Recording session took place in a quiet canyon between mountains.

    All SFX have baked-in Soundminer’s meta data.

    Download includes additional 44.1kHz 16Bit version for Unreal Engine.
    RECORDED WITH: Sound Devices MixPre 6 + 2 x Sennheiser MKH8060 + ATE208 (M/S)
    EDITED AND MASTERED WITH: Pro Tools, BOOM ReCenter, iZotope RX, Brusfri, FabFilter, ReFuse, Reaktor

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  • Need sound effects for your explainer videos? The EXPLNR sounds series is a collection of sfx libraries designed and produced with the classic 2d animated explainer video in mind. These sounds will give quick and useful coverage to the common moves used in this style.

    Vol 1 is an excellent all-around base library that includes whooshes, clicks, pops, swells, ratchets, slides, rips, drags, flicks, crumples, and dings – all custom designed with the playfulness and clean edges required to match the explainer video style.

    To help cover repetitive visual movements, multiple iterations of each sound are included. A host of designed sounds will quickly cover more complex movements.

    The next time you have an explainer video in the house, you know your starting point.

    Add to cart
 
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Horror Giant Pinecones Play Track 500+ sounds included, 44 mins total $79

    • In Giant Pinecones, get a visceral collection of scraped and eviscerated pinecones from the gray pine trees of Northern California. Scrape the razor-sharp hooks of the cone petals and hear guttural scrapes crackling with energy. Hear rolling cones popping and fluttering with rich stuttering tones. Hear fully open cone pedals squeaking with woody vocalizations like supernatural animals and hardy crunches filled with organic grit.
    • This library offers you an extensive collection of sounds from a unique organic sound source. Digger pinecone sounds are incredibly soft and intimate in real life, but when recorded from two inches they morph into a unique wooden sound source brimming with powerful glitchy and stuttering textures.

    2% FOR THE ENVIRONMENT & CARBON NEUTRAL:
    • Two percent of the price of this library is donated to an environmental cause, as an “artist royalty” for the planet!
    • Carbon offset credits were purchased to offset my field recording travel for this library.

    KEY FEATURES:
    • Woody vocalizations
    • Rolling, scraping, and stuttering textures
    • Visceral and guttural scrapes
    • Fluttering and popping textures
    • Rich crunches
    • Chalkboard-like squeaks and squeals
    FILE LIST & METADATA:
    • View larger version or Download CSV
    • A spectrogram is included for each audio file. Double click on the photo to enlarge.
    MORE INFO:
    • Read 40+ testimonials for Thomas Rex Beverly Audio
    • Read my Field Recording Mastering Rules and learn more about how these recordings were mastered.
    • Browse the Library Info Master List to compare specs on all my libraries.
    • Browse the Metadata Master List to search my entire catalog.
    • MD5 and SHA 256 Checksums are included for each zip file in my catalog. Use these hashes to check the integrity of your downloaded files.
    GEAR USED:
    • Sennheiser MKH8040 and MKH30 in MS
    • Sound Devices MixPre-6
  • Recording of the American 2017 Polaris Ranger EV. Powered by an electric utility vehicle’s 48-volt high-efficiency AC-induction motor.


    The American 2017 Polaris Industries Ranger EV sound collection shares 44 sounds in 3.49 gigabytes of audio. It showcases the sound of an electric utility vehicle’s 48-volt high-efficiency AC-induction motor in 4 channels with 2 custom stereo mixes.

    The sound pack includes 4 synchronized takes of onboard driving. 4 channels of audio capture the engine and onboard perspectives, with 2 custom stereo mixes provided. Performances include driving slow and fast, with steady RPMs and ramps, starting, stopping, and more.

    The package includes Pro Tools and Reaper mixing sessions, full professional metadata, and metadata import files in 7 languages.

  • A crush on music

    Distortion and saturation play a very important role in music production. From subtle, clean and warm tube or tape saturation to the wildest multiband guitar amp effects: FabFilter Saturn 2 delivers.

    Saturn 2 introduces a host of new features such as a redesigned interface with modulation visualization, new subtle saturation and linear phase processing for mastering, many new distortion styles, and more.


    Warmth, harmonics, color and dynamics

    FabFilter Saturn 2 offers a range of different high quality distortion models, inspired by the vintage sound of tubes, tape, transformers and guitar amps. In addition, you get five creative FX distortion styles to mangle your sounds in weird and unexpected ways.

    With its multiband design and per-band feedback, dynamics, drive, tone and modulation options, Saturn 2 will bring a unique flavor to your music.

    Bring your sounds to life

    Add life and depth to your music using the extensive modulation section. By applying subtle modulation to crossover frequencies, dynamics, band levels or tone controls, great warmth and definition can be achieved.

    With all the XLFOs, EGs, XY controllers/sliders, envelope followers and MIDI sources you will ever need, you get practically unlimited modulation possibilities. Creating new modulation connections could not be easier: just drag and drop. And Saturn 2 visualizes all modulation in real-time to show exactly what’s going on.

    FabFilter goodies

    Finally, FabFilter Saturn 2 contains all the usual FabFilter goodies: perfectly tuned knobs, MIDI Learn, Smart Parameter Interpolation for smooth parameter transitions, interface resizing and full screen mode, support for Avid control surfaces, GPU-powered graphics acceleration, extensive help with interactive help hints, SSE optimization, and much more.

  • Cricket – Junior & Senior is our latest SFX library toolkit, created to cater to cricket specific sounds. We have covered a broad range of specific sounds that differentiate Cricket from other batting sports. Included are sounds for Cricket Gear, Movements, Batting, Bowling, Fielding and Other Miscellaneous sounds.

    17 %
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    Ends 1590530399
  • An ice hockey game is an exciting, dynamic and powerful sonic experience. From the thunderous crack of a puck hitting the boards at full speed to the gentle scrape of a stick on the ice, this library contains a complete range of the game’s on ice sounds, all captured with natural reverb in an indoor arena.

    Included are a range of performances of skate, stick, puck, and whistle sounds, as well as rink door opens and closes, and various board, glass, and ice impacts.

    The skate sounds include starts, stops, turns, and pass bys, as well as single steps and scrapes for detailed editing and layering. Stick sounds include different kinds of shots, passes, drops and scrapes, and impacts with other sticks, the boards, and the ice. Puck sounds include impacts with the ice, boards, skates, the goal metal and net, and even goalie pads. Rink sounds include the opening and closing of doors, impacts with the boards and glass, and a goal horn. Two different types of whistles were recorded, with varying durations.

    Each sound effect performance was recorded from multiple perspectives – a stereo ORTF pair of Lewitt LCT 540s microphones, a closer wide XY from an Audio Technica BP4025, and a close mono Schoeps CMC6/MK41 – either stationary or following the action on a boom, depending on the type of sound. The ratio of direct to reverberant sound differs between these perspectives, offering a variety of options when editing to picture.

    Also included are quad-channel room tones from two different ice rinks, and a special onboard recording of a puck, made by taping a Sony PCM-M10 to a puck and sliding it across the surface of the ice.

    The actions were performed at a range of speeds and energy levels, with multiple takes for variety. Please refer to the sound list pdf below for details. Captured at a sampling rate of 96kHz, these recordings contain detailed information above 20kHz, expanding the possibilities for manipulation when slowing and pitching them down.

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